Chamber concerto in D major for recorder, violin and bassoon RV 92

RV 92 is one of only two chamber concertos in
which Vivaldi includes no continuo part, instead choosing to have a concertante
bassoon alone on the bass line. This was quite a bold and avant-garde move on
Vivaldi’s part, but he manages to get away with it by giving us suggestions of
the harmonic movement through the florid bass line. It is clear at first glance
that this work could simply be called a ‘trio’, but the form is such that
Vivaldi categorises it as a concerto, sticking to the three-movement plan, and
including ritornello passages in the two outer movements.

Throughout the work, the violin and recorder vie
with each to prove their solo status, during the first movement underpinned by
a fast moving, restless bass line. The middle movement is a sweet coming
together of the two upper instruments, once again proving Vivaldi to be a
supreme melody writer, expressing himself simply, but beautifully. The third
movement opens with a playful imitative dialogue between the violin and recorder
in a theme which reoccurs throughout the movement giving us our ritornello form
as suggested in the title. The sparkling ritornello interrupts solo passages
which attempt to redirect the music into somewhat deeper territory. These
mediatory passages allow both the recorder and violin to emerge as soloists,
while the bassoon motors along in what could be considered one of the most
elaborate and interesting bass lines written by Vivaldi for any of his chamber
concertos.